A SKETCH OF ART IN GLASGOW. 1600-1922. By T. C. F. BROTCHIE, Superintendent Art Galleries and Museums. A CELEBRATED living poet, after a recent inspection of the Art Galleries at Kelvingrove, expressed to " me his amazement in what he termed discovering" such a treasure-house of Art. In answer to the obvious query, was this his first visit to Glasgow, he " " said, No," and added, I have passed several times through the city travelling north, but I never imagined that this somewhat grey " " town (it was a rainy day when blank- ness, uniformity,/ and drabness exasperate the nerves) was so rich in the aesthetic elements of life." Exactly. Our poetical traveller is typical of many travellers on the great north road. Yet, to the pilgrim who cares to halt for a space, there will be revealed, perchance, a vision of things other than those associated with the day-long grinding of the mills and workshops. It may be that in the distant future there will arise an artist to whom the suggestiveness and humanity of the feverish life of the streets and the factories and the yards will mean a discovered treasure. Out of these grim and grimy notes of the modern city and cities there may blossom forth a new sestheticism if the 191 painter be great enough to handle greatly the pass- of the business but the task is ing pageant age ; titanic when we think, as think we must, upon the fresh beauty of the green meadows and the bluebells and daisies which gem the banks of the wimpling burns. Certainly it is curious to note how most of the great triumphs of art have been won in cities, and in cities where life was ofttimes busy and complex. So it was in the marts of the Middle and Venice and so it Ages, Bruges, Amsterdam, ; is in the great modern mart, Glasgow of to-day, vibrant if inexplicable to those who gaze upon the gulf that separates seemingly the lives of the massed citizens from poetry and the vision splendid. Art is an elastic word. If we regard it in its wider and, I think, more clarifying sense, not con- fining it to the putting of paint on canvas, then the history of art in Glasgow carries us far back upon the pathway of time. In one of the city kirkyards there is preserved a rich collection of sculptured stones, probably the finest collection in Britain, with the exception of those at lona. These stones embrace recumbent cross-slabs, erect cross- slabs, cross-shafts, a finely sculptured sarcophagus, and four hog-backed stones, the latter, strange relics, puzzling to the archaeologist and the anti- quary in their suggestion of a vanished life and civilisation and art. The stones, of which there are about forty, show a beautiful variety of decora- tive design, including interlaced work, key patterns, zoomorphs, and figure subjects. They date approxi- mately from the sixth to the tenth century, and their presence postulates the existence on the banks 192 Virgin and Child Botticel/i Head of a Boy Frans Hals of the river Clyde during the early Christian age of a community tolerably advanced in those arts which lend a gracious sweetness to communal life. Casts of the sarcophagus and the hog-backed monuments and one of the fine standing crosses are to be seen at Kelvingrove. A whole wilderness of barren centuries separates the sculptors of these stones from the years when we discover what may be described legitimately as the " " first reference to painting of which there is any record in our city. In the burgh records of Glasgow of 1574, in connection with an action raised " " by one Maister Robert Herbertson to recover certain portions of his mother's property, mention " is made of ane brod paynted upon ye samyn ye " " Image of our Lady." The brod (board) is the " " earliest painting associated with the city; the next reference is equally modest. It is also from the burgh records, where, under date 12th June, " 1641, we read, On the said day ordains the threasaurer to have ane warrand to pay to James Colquhoun fyve dollouris (dollars) for drawing of the portrait of the town to be sent to Holland." I " " suspect that the portrait means really a map of the town, and that it was intended possibly for Blaeu's Atlas, published later on at Amsterdam. After the storms of the Reformation had blown over, the Town Council made its bow as a patron of Art. In the year 1627 a new Tolbooth or Town's House was completed the tall, square-crowned tower at the Cross belonged to this Tolbooth and for the decoration of the Council Chamber therein royal portraits, which still form part of the Cor- o 193 poration collection of pictures, were from time to time obtained. In the year 1670 the Town Council resolved to purchase from London portraits of " Charles I. and Charles II. for the town's use." The portrait of the reigning monarch from the brush of was that of his Lely promptly procured ; father was not received till 1677, when it was hung " in the Councell hous with the rest now thair." " " "We do not know exactly what the rest included, but as one of the series extant of royal effigies which adorned the walls of the Councell Hous is a portrait of James VI. and I., inscribed and dated " 1618, we may conclude that it formed one of the rest." Although the magistrates of Glasgow were stern Covenanters and Presbyterians, they seem to have manifested in their eagerness to obtain royal " portraits a facile loyalty worthy of the Vicar of Bray." In addition to the royal canvases, Allan Ramsay, " son of the author of The Gentle Shepherd," was commissioned to paint for the town the portrait of Archibald, third Duke of Argyll, one of the Com- missioners of the Treaty of Union. These portraits now adorn the corridors of the Kelvingrove Art Gallery. " " The earliest portrait we possess of the city " appears in Slezer's Theatrum Scotia," published in 1693. Slezer was a native of Holland. He came to Scotland in 1669, and had an appointment in the Army. While in Scotland he did many sketches, " prospects of the royal castles and palaces, cities, burrows, universities, towns, and hospitals." These were engraved by Robert White, of London, and 194 The Foulis Academy, Glasgow, 1753 (One of the earliest Art Schools in Britain) issued in book form, with letterpress in Latin no scholar would have deigned to look at the book had Sir the descriptions been in honest English by Robert Sibbald. So pleased were the members of Parliament with the publication that an Act was passed to defray its expenses; and promises of patronage were given freely by the King, his son the Duke of York, and many eminent noblemen. Alas for the promises of Princes and Parliaments. Poor Slezer's book would not sell; the money voted by Parliament did not reach him; his pay as Cap- " " tain of Artillery was cut by one-third, and at last he was forced to flee from his creditors to the Sanctuary at Holyrood House, Edinburgh, where he remained in seclusion and poverty until his death in 1717. Such was the fate of the artist to whose skill we owe the earliest drawings of Glasgow. These drawings are of great interest, one of them showing the old Glasgow College, which was founded in 1450, and stood in the High Street of Glasgow until 1870, when the handsome pile on Gilmorehill, overlooking the Kelvin, was thrown open to students. The first real attempt to foster art in Glasgow was the establishment, in 1753, of the Glasgow Academy of the Fine Arts by the brothers Robert and Andrew Foulis, the celebrated printers. This school of art was opened in a room granted by the University fifteen years before the founding of the Royal Academy of Arts in London, and it was really the first effective art school in Scotland. Although disastrous to its promoters and patrons, it exercised a, distinct influence on the progress of art culture in 195 Scotland. The brothers Foulis brought to their school teachers from abroad, and collected, at great expense, pictures, casts, and engravings for their students to copy. After a struggle of twenty-two years, and despite the countenance of the University and the substantial support of some Glasgow mer- chants, the scheme ended in failure. Andrew died in 1775, and in the following year Robert, while on his way home after the disappointing result of the sale of his art collection in London, died broken- hearted in Edinburgh. Two Academy pupils, David Allan and James Tassie, attained distinction. David Allan, who was called the Scottish Hogarth, from his skill in the delineation of the manners and customs of the Scottish peasantry, is now best remembered for his illustrations for Ramsay's " Gentle Shepherd." Three examples of his work are in the Kelvingrove water-colour collection. Modelling was a feature of the course in the Foulis Academy, and there James Tassie found his par- ticular bent. It is interesting to note that subse- quently he became assistant to Dr. Quin, Professor of Physics in Dublin, and together they invented the glass paste which Tassie used for those famous medallions in which he preserved the features of so many eminent men of his age. Tassie was the first to take a plaster cast of the celebrated Portland Vase. In Kelvingrove Gallery are to be seen numerous examples of his medallion portraits, and one of his reproductions of the Portland Vase.